Conclusion - Cons

Large and heavy for a 50mm F1.4 prime

Relatively expensive for its class

No weather sealing

Overall conclusion

We've been very impressed by Sigma's recent 'Art' line lenses, such as the ultra-fast 18-35mm F1.8 DC HSM and the 35mm F1.4 DG HSM. The 50mm F1.4 DG HSM continues in a similar vein, but if anything it surpasses its illustrious stablemates. Optically it's simply spectacular; Sigma's older 50mm F1.4 EX DG HSM outperformed most similar lenses, but the 'Art' lens essentially redefines the class. It's a perfect match for high end full frame SLRs like the Nikon D800 and Canon EOS 5D Mark III.

In fact Sigma's latest 50mm is one of the very best lenses we've ever tested. It's impressively sharp wide open, with none of the 'haze' or 'glow' from spherical aberration that's normally associated with this kind of fast prime. Stopped down, it just gets better; we've been shooting with it mainly on a 20MP Canon EOS 6D, and it's impressively sharp right across the frame at apertures from F2.8 - F11. Indeed it seems pretty clear that the Sigma will continue to give excellent results on higher resolution sensors for some time yet, and is likely to be utterly untroubled by the D800's 36MP sensor when the Nikon-mount version appears.

Chromatic aberration is also extremely low. When shooting wide open you'll see some longitudinal CA (magenta and green fringing around objects which are out of focus), but it's not hugely objectionable. Distortion is almost entirely nonexistent, and vignetting relatively low for this class (1.5 stops in the extreme corners on full frame). We've also found the lens to be impressively resistant to flare, and to give generally-attractive background blur or 'bokeh'. Overall, when looking through the hundreds of real-world pictures we've shot with the lens, it's difficult to find much to complain about at all.

Operationally there's a lot to like about the Sigma too. Autofocus is fast, silent and positive on the Canon-mount version we tested, and the manual focus ring is smooth and sufficiently precise for critical focusing. We generally got most accurate autofocus by sticking to central AF points, which is worth bearing in mind to get the best from the lens. There's little to complain about in terms of build quality (unless you need weatherproofing), and small touches like the large positive AF switch and the grip on the underside of the barrel make the lens a joy to use.

There is a penalty for this exceptional performance, though, and it's size and weight. Sigma has achieved this level of optical performance by using a complex retrofocal design, which has more in common with a typical 35mm F1.4 than a traditional 'Double Gauss' 50mm. The lens is therefore more than twice the size, and about three times the weight, of Canon and Nikon's 50mm F1.4 offerings. All that glass means it's expensive, too; at $950 / £850 / €1000 it's much closer in price to the premium Canon EF 50mm f/1.2L USM, Nikon AF-S Nikkor 58mm f/1.4G, or Sony Carl Zeiss Planar T* 50mm F1.4 ZA SSM.

In fact, the Sigma 50mm F1.4 makes for a particularly interesting comparison with the Nikkor 58mm, which we reviewed at the end of last year. Nikon seems to have decided to trade-off sharpness against bokeh, meaning that the 58mm is visibly not as sharp as the Sigma, especially at large apertures, but blurs backgrounds quite beautifully in return. For certain uses - most obviously wedding and portrait photography - this makes the Nikon the natural choice, but we suspect many users will prefer Sigma's approach overall.

The Final Word

Overall, the Sigma 50mm F1.4 DG HSM | Art is a pretty easy lens to sum up. It's the best autofocus 50mm prime we've reviewed to date, with optics so good that we can't really find anything to criticise. This does however come with a significant size and weight penalty, not to mention a distinctly high price. But if you're prepared to put up with that, we don't really see any reason not to recommend the lens wholeheartedly. It's a deserved winner of our top award.

Sigma 50mm F1.4 DG HSM Art

Category: Normal Lens

Optical Quality

Build Quality

Autofocus

Image Stabilization

Ergonomics and Handling

Value

PoorExcellent

Conclusion

The Sigma 50mm F1.4 DG HSM | Art is distinctly large, heavy and expensive for its type. However this is more than made up for by its fast silent autofocus, solid build quality, and absolutely outstanding optics. Overall it stakes a very serious claim to be the best autofocus 50mm prime on the market right now.

Good for

Full frame users looking for the sharpest possible images, even when shooting at large apertures

Samples Galleries

There are 48 images in the review samples gallery and 31 images in the preview samples gallery. Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don't abuse it.

Unless otherwise noted images taken with no particular settings at full resolution. Because our review images are now hosted on the 'galleries' section of dpreview.com, you can enjoy all of the new galleries functionality when browsing these samples.

Review samples gallery

Sigma 50mm F1.4 DG HSM | Art review samples

Preview samples gallery

We had an early sample of the 50mm F1.4 DG HSM for a couple of days, long enough to put together a quick initial samples gallery. We concentrated on large-aperture shots to show sharpness and bokeh, but have also thrown in several images shot at smaller apertures too.

Comments

Sigma Art series is THE reason I am using AF lenses again. Always struggled with Nikon pro prime offerings, always off, with in-camera fine tuning unable to resolve the issue (ok at infinity but off at closer distances or vice versa) unless all lenses and bodies sent to nikon for focus adjustment. Sigma and its dock resolve all that. Most importantly, it allows to fine tune the focus at different distances! The problem is not lack of control of the sigma lenses but loose tolerances on the bodies. They deserve my money for coming up with, what I consider, to be a breakthrough approach with excellent optics.

Some guys describe back/front focus issues with this lens, seems Sigma does it with salling their USB-dock on the back of its mind (almost kidding :-)My lens had +5 from the start... luckily, corrected fully with AF fine-tuning on my Nikon

I have the Sigma 1.4 and Canon 1.2. The Sigma is sharper, but the Canon has better bokeh. I use them in different situations and will keep both of them. There are situations where one is appreciated more than the other.

I just bagged this lens last night and tried it on my 80D and my 5DMIV. Strange experience I have had, it seemed to focus better on the 80D at 1.4 and while this is not a thorough test I did, I'll share more info as I get to use the lens more extensively on both bodies. Anyone using this glass on a cropped body? How has it performed?

Sigma 50mm ART is really incredibly sharp - but only if you can get it properly focused. On my D750 I can get breath-taking sharp images if I focus it MANUALLY. However with auto-focus the story is much worse because it systematically back-focuses by .5-1.5 inch. I have tried to correct the problem using D750 "AF-fine tune" but it cannot solve the problem because the range of auto focus adjustment on D750 is insufficient. The next step will be to tune the focus on Sigma 50mm Art using Sigma USB-dock and Sigma tuning software. I have started this process but unfortunately it is NOT very simple and straightforward. I have heard and read about this problem from a number of other Sigma Art lens users so it is not unique to my case.

After spending a day trying to fix the AF problems on my Sigma 50mm F/1.4 A using the Sigma USB-dock, Sigma Optimization Pro software, and shooting hundreds of test images with various focus micro adjustment settings, it is obvious that there is a serious problem with my lens AF operation. This may not appear as a serious problem for a casual or semi-serious user (lens focuses after all but at a bit wrong point). However, for a critical perfectionist, this is unacceptable. Very similar problem is described in depth athttp://pindelski.org/Photography/2013/01/13/sigma-35mm-f1-4-dg-hsm-a1-for-nikon-part-ii/

Cost aside would you buy the Nikon 58 mm over the Sigma Art 50 mm? I use the D750 as well and am trying to figure out best move first and then worry about cost. Where did you buy your Sigma lens from?I understand the only reason to micro adjust is if you open the lens to F 1.4, focus say on a persons nose and it is OOF with the eye being sharp it back focussed If you do the same locked on to a eye and the nose is sharp.I have not felt like i needed micro adjustment with the Nikon lenses I have and was trying to clarify how you know you need to do this and by what means do you set up the caemra to figure it out and was told use the widest aperture in manual exposure mode. I am not sure I want to bother with charts and targets etc..

I think I didn't have AF problems with mine on my D810, much more problems with 85mm f1.8 G. The biggest drawback of sigma tho is its (imo) very heavy weight. I feel if tamron is "close enough" to it, their primes might be better (since they're lighter).

I never shot or held medium format gear, but I got a feeling the sigma might be weight-wise entering in that category :/

I don't think the nikon 58mm is worth it, as it doesn't produce same kind of results wide open.. but maybe it has better bokeh than sigma / nikon's 50 1.4-1.8 G's? It simply lacks the wide open sharpness (I think both 50 G's do too) , so I'm in favor of the new tamron primes

Finally it was tested on a Quality Camera and Quality Sensor..Nikon D810. I have been using Sigma 50mm Art for a couple of years now. Nothing comes close, except Otus 55..but that is another type of Beast. Tack Sharp and yes it is heavy, but no problem. I am test driving the new Sigma 24-35mm Art in two weeks...can't wait. The Sigma 50mm Art has been a joy to use and no problems with Focus on my D810. I Highly Recommend The Sigma 50mm Art. Beautiful work it performs.

I've been in and out of my local camera store nearly once a week for the past few months trying to decide between the Sigma 1.4 Art and the Canon 1.2L. After A LOT of deliberation, I'm about to buy the Sigma. Not because it's sharper (it is), not because the AF feels a little faster(well maybe just a little), not because it's cheaper (this definetley helps), but because of the overall general aesthetic of the image it produces. It's difficult to explain, but the in-focus area when shot at 1.4 tends to really pop out. More so than the Canon. The bokeh is not as dreamy as the Canon, probably because it's sharper overall, but it's nice. One of my main concerns though, besides it's weight, is the customer service and quality. I have nothing but good things to say about my local Canon Service Center. Their customer service is amazing. After seeing some people mention some QC problems with the Sigma, I'm feeling kind of nervous about pulling the trigger.

I finally picked up a copy of the 1.4 art 50mm and after a bit of in-body AF-fine tuning it's laser sharp. Doing this is highly recommended as the lens needs some adjustment to get it right. Very satisfied with results now after being a bit frustrated when initially getting the lens. Big and heavy lens as well as very pricy at a grand but well worth it. Great images come from big glass and big glass is heavy.

The trade off with size/weight and being pricey is definitely worth the quality you're getting.

I can fully aggree on the conslusions, except for one thing: It puzzles me that it is regarded as expensive, given how unshamefully good it is. I mean: Next step up would be the Otus. Anyway, I am deeply awed by it, and it is such a joy to see how Sigma has stepped up their game. (More like a quantum leap, actually.) And no, I don´t have any close friends at Sigma.

@Photominion. Suspense is killing, please do tell what do you mean by character? In your opinion the 50 1.2 from Canon, despite lacking in every way, is worthy of it's price tag just because of this "Character" thing. The Otus, on the other hand, is optically perfect lens but 4x more expensive and does not deliver on the full spectrum since it does not have AF.

I was comparing with my EF 24-70/2.8L II. Center sharpness appeared about the same.

But once I started using it more - and then (especially) fine-tuned with the USB dock this lens positively came alive. There's more to it than just sharpness, which it's certainly got to the very corners. Local contrast is amazing - this thing pulls details out of thin air.

I've loved my Nikkor 50/1.4 AI-S since the late 70's, and nothing could match its creamy bokeh until now. This lens is another winner from Sigma.

It appears that the Sigma 50mm F1.4 DG HSM standard lens is a true winner, a very fine lens! I have a Canon digital SLR (Rebel XS), and it seems whether most photographers have and shoot with a Canon, Nikon, or other digital SLR, then this standard lens is definitely the glass to choose, and use!

Sigma's long standing problem has been quality control and consistency, they could design good lenses but go on to build a rather significant proportion of them that were not quite right.......I hope they have cracked it.

I love my 2 brand new sigma lenses. I love the image out of them, the feel, and the look. Both needed to be sent out for repair just a few months old. I own Canon glass by buckets, mostly purchased used. Some 10-15 years old. Never had to repair a single lens. Good that Sigma offers a 7 year warranty, otherwise I would not buy even if I love the product.

I agree with the QC/QA problem but they do seem to have fixed it. I own a 35mm Art lense, my impressions so far for the last 4 months of ownership has been they have done a very good job on making sure it was a well designed product. I plan to own more sigma glass in the future because of this. (50mm Art, and a 135mm if they ever make a high end version of that)http://flic.kr/p/pzS1QoRecent landscape shot taken w/35mm Art lense. I have been using it for a walking around lense while making children's portraits at family events as well.

Have to disagree on that point. As a professional photographer of 25 years.. A good 50mm like this lens is a must! ...Just not for weddings... I do commercial, industrial and investigative photography as well as in the studio 50mm are vital to have in your arsenal.. Especially one as good as the Art lens!

My Sigma 50mm Art arrived last week. I had been told by Brisbane Australia camera shops that I could not get one until late in 2014. BUT Leederville Cameras in Perth Australia has them and their service is very good.

Am I happy with the lens on a Canon 6D? After all the hype I am a touch disappointed. The lens set at "0" microfocus was alarmingly back focused. Reikan Focal suggested +12 to overcome the problem. This seems a lot to me but the images while sharper are not as I expected. They are nothing like a Zeiss 21 - perhaps not a fair comparison - not quite as good as a well set up Fuji X100s 50mm and, dare I say it, not even as sharp as my Canon 24-105 at 50mm.

I will continue to work at the micro adjustments in the hope of getting something better out of the lens.

So far I am underwhelmed. Good luck to all those who are happy with their purchase. Unless it gets better I think I will stay with Canon and Zeiss lenses.

Time to eat humble pie. I spent some time adjusting the lens again. The results are amazing on my Canon 6d. Wonderful bright colour that certainly did credit to Sydney Harbour on a sunny Sunday. Sharp corner to corner at f 5.6. I processed images using DXO but the program made minimal difference to the original RAW photos.

I am also using this lens on a Canon 6D. It is the second one I have had. The first one was returned under warranty. A couple of times the camera operation froze with this lens installed. This had never happened with any other lens I have. Returned it and the store gave me a replacement. The 2nd one has been perfect. No issues and the photos have been razor sharp. Just amazing. I have done 2 weddings and a retirement dinner shoot and couldn't be happier with the lens performance. I have previously owned the Canon 50mm f1.8, Sigma 50mm f1.4 EX DG HSM and Canon f1.2 L lenses and this one is sharper then all of them.

I am using the Sigma 50mm 1.4 Art on a Canon 5d III... had a job at a kids summer camp photographing IDs on a three dimensional backdrop ... the picture were the sharpest I have ever taken with outstanding contrast.... well done Sigma (and Canon) .

OMG not even one decent image with the best lens you have ever reviewed (well maybe there was but I gave up) . Look guys I like the site but come on how about some guest photographers or something! Pretty please. : )

I did my own tests comparing the Zeiss Distagon T* 24mm f/2 and the Sigma, and head to head it was pretty much identical in terms of stellar resolving power with very little CA. I'd have to give the edge to the Sigma, but both were very impressive. The ONLY thing I really miss and wish the Sigma had was a focus hold button. Really miss that. But the Sigma IS all it's cracked up to be, stellar! It's heavy too!

No surprise the Sigma outperforms virtually all other 50/1.4s and even the Canon EF 50mm f1.2L (which isn't awfully sharp wide open and has unattractively nervous bokeh)–my Sigma 35mm f1.4 Art, after a year of continual use, still impresses the hell out of me with its spectacular build quality, sharpness (especially wide open) and superb contrasts. Sigma is on a mission, it seems, and I'm along for the ride.

I have the Sigma 35mm and as of a few days ago the 50mm, love them both. I've also had a Sigma 20mm f/1.8 for years now and although it's a fun lens to use (incredible flares whether you want them or not!) you can see how far Sigma have come. It's as much a tank as the Art lenses (82mm filter thread!) but it's a clown-car in comparison to the Art build quality.

I do not see anything in the samples to make me buy one, and my old Nikkor will just have to do. It's great to know they can be made, but outside of controlled studio conditions,with no IS either to get that resolution, as there is no weatherproofing at all, the risk that electronically it may die, or be ruined by damp and/or dust tells me that Sigma do not care about buyers.Like most makers these days...

You would need to stop taking pictures if it rained, and now ALL of the modern fast primes we compare it to are useless outside in normal weather conditions. This from a country with a climate like our own and subject to tsunami and volcanic eruptions makes no sense at all.

When, by most reports, this lens optically outperforms anything but a Zeiss Otus, and you don't see anything special about one particular set of samples, I suggest you look for other samples and/or use a better monitor.

As to weather sealing, well that would be nice, but SLR lenses worked before weather sealing.

If the Nikon 50mm 1.4 has the optical performance you seek, use that Nikon.

I’ve been out in the rain with unsealed lens more than once. The truth is you’ll be seeking shelter long before the lens will crap out. I had my unsealed Sigma 35mm gone thru the occasional beer dousing at wedding receptions with no ill effects...

Nothing beats a leica summilux f1.4 asph.Cheaper than an Otus, way smaller and way lighter than both Otus and this Sigma lens. The only thing this Sigma has for it is better value per dollar and autofocus. Its a very good lens but I still cannot accept weight a size compromises you have to make to enter dslr world. The biggest joke is when u compare an Othus to the Leica Lux...it looks like a serious joke from size.

The Sigma trumps the Leica in every category, except size/weight.The Sigma is way sharper across the entire frame at any aperture, has way less distortion and less vignetting.For a lot less quality on the Leica, you have to pay more and lose AF.

At least with the Otus, it is sharper than the Sigma on the corners. Perhaps that is worth the additional $3000 (but I myself am not willing to pay that much dollars for the difference in corner sharpness).

summilux and otus are pretty much a full on hobby lenses. while they do edge out the 50mm art in sharpness, the difference is so marginal that you will not notice it if you don't spend an hour examining a picture at 100% crop.

in our day and age i see no reason to even consider a manual focus lens unless you are on a ridiculously tight budget or you prefer to do things the hard way.

if your photography is 100% portrait work, i can see a reason to possibly consider a super sharp manual lens, but otherwise, good luck focusing manually on fast moving subjects...

I always laugh when i read things like this. I shoot fast moving musicians using a manual focus Summilux all the time. I've also shot sports such as boxing and even sport bike racing (200+mph) using a manual focus lens.

Sorry to break this to you, but it doesn't take much skill to focus on a motorcycle going at even 250 mph because you are sitting in the stands that are 50+ meters away. from that vantage point you have plenty of time to track them as they go past you. for the most part they are moving in a straight line and taking occasional turns. but they are following a track so there aren't any surprises as to where they are going to be when you hit the shutter button.

want to test your "skills"? try to focus on your subject when you have to take 50+ degree turns at any unpredictable moment in a matter of 3 seconds. like photographing a basketball player maneuvering around the defenders from near the court side. see how well that works out for you. even "cat like" reflexes won't help you much.

@JDThomas If what you claim is true then you are indeed very skilled. However the point still stands, modern autofocus especially with a high end cameras like the 1DX or the D4s with the Sigma will still outperform your manually focused Summilux regardless how skilled you are.

I can show you the photos if you want. I'm not just saying it for the hell of it.

The real truth of it is that zone focus will beat AF always, but leaving that out, I'd rather manually focus and get one exceptional image than have my camera autofocus and get 30 mediocre images.

And even if the AF captured a great moment, the satisfaction of catching a great moment against the odds by manual focusing is more fulfilling. I mean don't get me wrong, I use AF when I have to get the shot for the money, but I always love the photos that I work for best.

@JDThomas Although I have mingled with a few sports photographers I have yet to meet someone who shoots fast sports action on manual focus though I don't deny that photographers of the past shot iconic sports photography on full manual. So, yes please send me a link, I'm genuinely curious.

However, I remain skeptical that zone focus will beat the modern AF of a camera like the 1DX or D4s - at least if one's criteria is reliability and output. Quality, well, in my opinion having a reliable tracking autofocus means one less thing to worry about for the photographer which mean he/she can focus more on things like composition. However if it is the visceral satisfaction you get from shooting fast action with a manual lens than you are correct.

As you said not everyone can cut it or even want to cut it if given the choice.

Yes, I agree. People complain about the silliest things. This lens is a bargain. With Zeiss-like quality at one quarter the price, this is a great deal and I'm getting one. I was going to buy the Otus, but decided this is a much better deal with negligible image quality differences.

My new SIgma has exceeded all expectations. Build quality and optical quality is amazing, significantly (hands down) better than both my Canon 50mm f1.2L and my Zeiss f1.4 ZE planar, both of which are on sale on craigslist. Sigma has surpassed Canon as a lens builder. Possibly even Zeiss. And this is coming from a Sigma hater!!! To reiterate, the Sigma is sharper wide open than either of those stopped down to any level. It even humiliates my Canon 100mm macro IS L. I find myself in disbelief

The colors are much richer, contrast and micro-contrast is superior and sharpness is otherworldly. The Sigma simply outclasses the other 50s. no small feat.FYI, I use a Canon 5D series body and a T4i. With the 5D the shallo DOF is spectacular, on the t4i it becomes a supern 80mm portrait lens. unbeatable. I do not use the lens past 800ISO.

Yeah, I'm still using the old 1st Generation 5D and cranking out beautiful photographs. The t4i is also a fun camera to use. It just depends on my mood really. I'd love to get a Canon Mirrorless, but it has to have a viewfinder.

I think there are better mirrorless than Canon's mirrorless, and if you're comfortable with manually focusing you can use those Canon lenses, and the Sigma, on various mirrorless bodies. Fuji+Sony+Samsung all have adapters and all have bodies with electronic VFs.

I have it now since a week and tested it a lot on my 5DIII. To make it short: my EF 50/1.2 is on ebay now. To make it a bit longer: great sharpnes and contrast already wide open (for what I want to use it). Focus quite reliable (-2MA at close distances, 0 at infinity, will be corrected via USB dock). Nice handling and it mixes nicely with my EF 85/1.2II from its color rendering... Interesting finding: dpp allows for a DLO correction! Nevertheless I do it with DXO anyway.

Horses for courses as usual. The Sigma is obviously a very fine lens: no question.However a point of order here: Most DSLR lenses from Canon and Nikon have very low contrast.I am lucky enough to own a Nikkor 135 F2 DC: to my mind this has THE best bokeh of any 35mm lens. However, it has, in comparison to my MFT lenses, and particularly the 75 1.8 frighteningly low contrast. This is not a small difference: it is massive and its a key reason that Nikon and Canon DSLR's are so lax at CD. CD relies on contrast. So, my point is when are the "big 2" going to get real and start producing lenses that make crap PD systems obsolete?Anyway well done Sigma.

In the past Sigma Lens seldom get mentioned by Pro's etc but today it's brand that's not only getting recognised but getting good review rank. This Japanese company come a long way. Very patient, great achievement. Only thing is, the price of their fine achievements are going upwards to.

Hi!Can someone explain me something about the 3 shots of the distant clock to point out focus inaccuracy?

As the clock is really distant, I guess focus is set on infinity, right ? Moreover, focusing and exposure is always measured the aperture fully open, that is 1.4. So why is there misfocusing? Infinity is infinity, no ? There's no infinity + a little front focus or back focus.

Thank you Andy. I understand that. I must have expressed myself badly...What I meant is that it seems the clock is so far away that it's way beyond the hyperfocal distance (93.1m @50mm f/1.4 on APS-C). So what I don't get is : if the camera front-focused a little, it should still be within the "sharp focus range". No ? Unless the camera front-focused a lot.

So there are two points here. Firstly, it really doesn't take very much movement of the focus ring to blur the image by the amount seen in those shots. If you look at the distance scale, there's a very small angle between infinity and the first marked distance, which is just 3m.

Secondly, depth of field calculations use a concept of 'acceptable sharpness' that's defined by the diameter of the 'circle of confusion'. For APS-C this is normally about 0.02mm, which is a blur circle covering 4 pixels. By these standards all three of those images would be considered to be 'in focus'. This reflects the fact that DOF calculations aren't about looking at 100% crops, but instead viewing prints.

I wrongly thought that if there was so small an angle between infinity and the 3m marked distance, it was because there was almost no room for change when travelling from 3m to infinity. I understood something like : "Beyond 3m or so, it's (almost) the same. So why bother having a long distance scale in that range, it won't help/improve things".

So I understand that there's obviously a design choice by Sigma to optimize the focus ring travel distance from 1.7 to 3m. Should be the range they expect people to use the lens most and/or where the slightest change has the biggest impact. So it's the range where there's the most part of the focus distance...

Put that way, it makes sense. Ideally the mechanical travel distance should be infinite too as there is but one 100% perfect focus plan...

I've both the Zeiss 55 ZA and the Sigma 50 Art, the Sigma is IMO just a touch sharper, with regards to the out focus rendering I think it all depends on the elements being thrown out of focus, I've not found either the Zeiss or Sigma to be better than the other in every situation so far, I do prefer the rendering from the Zeiss though, seems to give a bit more of a 3D look.

Not much point really is there? The original 4/3 mount is pretty dead these days and adapting a DSLR lens to mirrorless doesn't make sense (it's a waste of space behind the rear element). Really they should start fleshing out their mirrorless lens range.

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As if it needed one, the triple-camera smartphone might really be the final nail in the compact camera's coffin. DPR contributor Lars Rehm brought the LG V40 on a hiking trip recently and found it to be a huge leap forward in terms of creative freedom.

Renowned UK-based landscape photographer Nigel Danson has been using DSLRs for years. In this video, created exclusively for DPReview, Nigel discusses his experience using the Nikon Z7 and why he's excited about mirrorless cameras. (Spoiler... beautiful scenery ahead.)

Chinese optical manufacturer Kipon has added the Nikon Z and Canon R mounts to its range of adapters made to attach medium format lenses from Hasselblad, Mamiya, Pentax and others to full frame cameras.